This section is intended to introduce the reader to various aspects of art that may be related to various aspects of the present techniques, which are described and/or claimed below. This discussion is believed to be helpful in providing the reader with background information to facilitate a better understanding of the various aspects of the present disclosure. Accordingly, the discussion should be understood that these statements are to be read in this light, and not as admissions of prior art. Likewise, in the present disclosure, where a document, act or item of knowledge is referred to or discussed, this reference or discussion is not an admission that the document, act or item of knowledge or any combination thereof was at the priority date, publicly available, known to the public, part of common general knowledge or otherwise constitutes prior art under the applicable statutory provisions; or is known to be relevant to an attempt to solve any problem with which the present disclosure is concerned.
Many people desire to compose music. However, transcribing a musical idea from a mental realization to an audible sequence requires practice, patience and discipline. For example, a composer typically creates a musical piece by notating symbolic representations of musical notes and/or musical notations on staff paper. The composer plays a few notes on a music instrument, pauses to write those notes and/or notations down on the staff paper, plays a few more notes on the instrument, pauses again to write those notes and/or notations on the staff paper and iterates such steps until the composer decides that the piece is finished. This can be time consuming, arduous and inconvenient.
Although music sequencers and/or sound synthesizers have made music composition somewhat easier, obstacles still exist. For example, manual input devices can be unintuitive for music synthesizing, especially when they emulate translation from a piano keyboard's mapping to synthesize audible sequences. Similarly, the composer typically possesses a high level of expertise in operating a sequencer and one or more music instruments. However, obtaining such expertise often creates a potential barrier of entry to realizing a creative vision for a would-be musician. Likewise, for visual learners, existing systems are deterring. For example, on pianos and digital sequencers that emulate piano sequencing, unmarked keys hinder development and deployment of an audio and musical sequence. Without specialized knowledge of how to access certain notes on a music instrument, one will be wasting time by inefficiently guessing at their location. In addition, people suffering from medical conditions, such as hand, voice or spine related conditions, often have difficulty composing music.
While certain aspects of conventional technologies have been discussed to facilitate the present disclosure, no technical aspects are disclaimed. The claims may encompass one or more of the conventional technical aspects discussed herein.